"i'm just mad now", is basically a stage every printmaker gets to at least once in the process of making a print. For me, it usually involves a lot more swearing, but the sentiment is the same. Wonderful, comprehensive tutorial. This will be a valuable resource for printmakers, both experienced and novice, for years and years to come.
I'm exremely appreciative that you included a failed print in your video. Too often artists on RUclips only show their successes and I think it leads newer artists to be more insecure about their own failures. Art is about experimentation and all experimentation comes with failures. Those failures can teach us if we don't take them personal.
I agree!! I feel like the times when I have learned the most is when I have messed up, so for me it's important to show the entire process, not just the parts that go well. -Prof Lieu
As a guy I am a bit wary watching art instruction videos by ladies because there is often a lot of waffle and superfluous content (sorry ladies, but it's true). What I liked about your video was that it was chock full of excellent information delivered in a confident and clear manner. I've done a few woodblock prints in my time, but your video taught me some great tips and now I'm eager to have another go. Thank you. (Aaaannndd... Subscribed! I look forward to exploring more of your videos.)
This is another example of this channel delivering uniquely helpful content. One note, from a print collector's perspective: We don't consider AP (artist proof) to mean "there is only 1 copy of that print." This is important to know because you will often see multiple APs of the same print on the market at the same time, and you should not think one of these is fraudulent. An artist is typically permitted to make a few APs (up to 10% of the edition size). So if the edition size is 30, the artist can make 3 APs. If it's 100, the artist can make 10 APs. What defines the AP is that it is identical to the edition, but is not part of the edition. Other proofs-called trial proofs, state proofs, or working proofs-are pulled in the process of reaching the edition quality. We saw you making these along the way in this video. These are "variant impressions" because they vary from the edition quality. An AP is never a variant, but always identical to the edition. Some printmakers use the term "bon à tirer" (“good to pull” in French) when they reach a proof print that is ready for editioning. This can be labeled BAT and signed by the artist. I don't see these very often on the market. As a rule of thumb, on the market APs sell for about 15-20% higher than other prints in the edition. (They may be printed before the edition, or they may be printed during or after the edition. With relief printing, which doesn't have a matrix that decays like intaglio, the artist often signs the prints in a random order, rather than in the order that they were pulled.) It's important to know that prints were not signed and editioned in pencil regularly until the 20th century. Whistler is credited with starting the trend in signing his prints in pencil, in the late 1800s. The two best sources are How Prints Look (Ivins) and How to Identify Prints (Gascione). But other books like Printmaking A Complete Guide (Fick, Grabowski) are also very helpful. The Ivins book is the gold standard and is online for free from the Met.
Wow, thank you so much for this incredibly detailed explanation of artist's proofs! I had no idea that this was the case with an AP, the levels of distinction and specifics of how to categorize the prints. Love hearing about the history of this, tysm for contributing to the dialogue here! -Prof Lieu
I felt so giddy WITH you as you got a great pull for the second print. I personally love that you did two different versions of the same subject and you included how you troubleshoot with digital sketches all the way down to remembering to wash your hands! All so important and it's great to see your wisdom and experience playing out in this amazing tutorial!
I love woodblock printing! Back in high school was my first attempt. We had a pile of stuff to chose from that we could carve. I picked a beat up old combat boot. I was enjoying it so much I printed it over 20 times using different colors. My older brother saw them and asked if he could have them. When he met his now wife, the first time I met her she was talking about his apartment and said "I don't know why he's got all these pictures of an old boot hanging everywhere" 😂 I need to get some wood. I'm pretty sure I still have my tools. Thanks for the inspiration!
I have made some workshops. One of them 5 days, the others 2 days. I have learned more with your video. What a high level, fantastic teacher you are!!!! A thousand thanks!!!❤
What a beautiful video. Thanks for your enthusiasm, your "lemme try stuff" attitude, your approach to "mistakes", and for all the knowledge you're donating to the universe. And what a cool goat picture you made!
I really appreciate you included the process of failure and how to approach it, deal with it, learn from it and overcome it. It's beyond useful, it's really amazing and inspiring. Shows your self confidence too. Every other RUclipsr only shows a polished, edited, fake story of the creative process. (Respect to the few exceptions). I see this in 99% of music production videos. The person always picks the ideal drum, bass sound, perfectly fitting instruments, effects and processing tools, and "Voila, *poof* and here's your final product - see how easy it is?" This creates an unrealistic, fake image of the creative process and it can be very discouraging for beginning artists. It's like you had a tree that only grows 1 apple a year, and it's the best apple in the world. Instead of the whole picture of a full tree bearing 1 apple, typical youtuber would show you basically just one long branch on a tree trunk with no side branches and with the apple at the end of it, if you know what I mean.:)
I agree with this so much, I really do think that those "flawless" art process videos are doing a disservice to artists, especially young artists who don't have enough experience to see the value in the inevitable mistakes we will make! -Prof Lieu
@@artprof It starts with the education system that rewards perfection, and punishes mistakes, whereas in the real world, we mostly and most efficiently learn from mistakes.. It's a systemic and societal problem and one of the few real cures I can imagine is the approach you show in this video.
What an incredibly helpful and honest video. Thanks for making this and leaving the problems with the putty and the busy areas in! Feels relatable and builds trust!
The quintessential wood is Basswood. It doesn’t have the grain issues. But Poplar would be my second. Another tip for sealing wood grain is using cyanacrylic CA glue to lock wood fiber for those cross-cuts where tear out may occur. I don’t think CA glue will affect the ink loading for your printmaking. Sharpening is a whole art to learn but sharp tools are safer tools.
Thank you Prof! I’ve been slowly collecting the tools so I can start wood and Lino cut works. I’ve been painting on canvas with oils for more than a decade, but I’ve never really explored this form of expression. Mostly what I want to say here is that your video has more value to me than any other educational source I’ve found to date. You’ve covered the nuances of the process that are all I need to get started. You answered so many of my questions and given much more than I even could have asked. Whenever I want to learn something, I need the technical information up front. I feel that gets me past the confidence hump of starting something new and enables me to dive into my work. Heading out now to get a piece of wood, I’ve already got the carving tools and a small home press and plenty of paint!
You are such a great teacher. Easy to follow and quite genuine with the actual process that is often trial and error. Beautiful black and white woodcuts.
Man, now I want to got out and get carving tools! I've always loved the look of woodcuts. Thanks for showing the whole process, including starting over. It's easy to fool myself and believe experienced artists always have smooth art making sessions.
wow! such great tutorial! I am so inspired now to try woodcut. I think it is better that you ran into some problems as this is what is bound to happen. I love that you took the time to do a second carving. what a fantasti result!😀
This was so helpful- esp the analogy to scraperboard - I have done and sold lots of s/boards and linocuts but never done woodcut and now I want to try! 😊👍💐
This video is so well made and packed with the information I need to start and be inspired. Thank you. It is the first video in a while that ive not left in the background while I do something else. Im paying my full attention.
I learned more in this video than most other printmaking tutorials. A big thanks for highlighting and including mistakes made along the way most others do not fully express what can and often go wrong, so to see a very experienced person make those mistakes made this video sooooo refreshing to watch! By the way your prints are both wonderful and inspiring!😃
Your videos are so inspirational and full of hints and tips ... I really loved this one - thanks for the idea of painting the block with black ink first .. i battle to see things in the 'negative' and this technique really makes sense to me. I am just starting out with this technique and I am so excited to get started. You are right about linocut, that was a big problem for me when I first started doing that. I've just been taught stone lithography (oh what a fantastic process!) and now we are moving onto Japanese Woodblock printing. This video was awesome. Thank you so much.
You're a wonderful teacher thank you -i love the drama of black and white - but also noticed one print you held up had a subtle area of color and that was very nice as well - love how you covered all aspects of this process
Love your videos and beautiful woodcut prints. You need a strop with strop paste to hone your tools you better edge. Also you are getting tear out because you are going against the grain. Going with or across the grain will produce a smoother cut. If you hone your tools with a strop and compound you could use the mallet less unless you are using a hard wood. Keep up the great videos. Thanks!
Great video. Thanks. I found that "painting" the tip of your tool with a marker pen before sharpening lets you see where you are removing metal. It helped a lot until I got to the point where I could consistently get it right.
I was in a museum today and saw Yoshia Hiroshi who is renowned for his wood prints and I wanted to watch a video to really understand and appreciate the work as reading a description wasn’t enough You really helped me gain exposure to more artists and appreciation for art in a way I don’t feel I have experienced otherwise. You not only did art history in a way but taught what and why to appreciate wood prints. I feel empowered to look at some more in the future and feel well equipped to understand everything behind what I will look at Your video on top of Hiroshis work I think inspires me to take a class to get some hands on guidance on doing this. I love understanding a new activity from the end to end process as I believe that helps quell anxieties and fears about “I don’t know what I don’t know” Anyways, you are such a fantastic, down to earth and lovely teacher and artist. You are so genuine and talented. You mentioned you bought art supplies in Manhattan, if you ever offer a class or course people can sign up to I would love to
Thank you, you are so kind! I'm glad you're getting so much out of our videos! ❤️ Here's the schedule of workshops that Prof Lieu is teaching over the next couple months: artprof.org/learn/premium-courses/premium-workshops-schedule/#current -Lauryn, Art Prof Teaching Artist
I saw a Great Wave print a year ago at the Seattle Art Museum. Also other beautiful wood cut prints of Geisha women and Mount Fuji etc on loan from Japan. If you have a chance I highly recommend viewing these beautiful Art Prints.
This is incredible. I can’t thank you enough. Any chance we could have a list of artists referenced in the video? I keep pausing and making notes of all the brilliant work I see flashing across the screen. Definitely a good reason to watch it several times. Thanks for doing what you do!
Thank you for sharing this!! I had such a difficult experience with my first woodblock work and i recently need to do another one which made me push that project aside. But with your video I am willing to try it again 😊
Go for it!!! So often people don't have all the info they need to make the process work well for them, and even then, there are challenges. See exhibit A here😆 -Prof Lieu
I LOVED this video!!!!!!! It was so awesome. I originally was watching it because Prof Lieu makes me laugh with her quirky humor. But I seriously want to try making a wood cut. I thi k the printing part is cool but what I really like is the way the block looks after its been used to make a print. Id prefer to display the block in a shadow box frame lol great job Prof Lieu!!🎉
THANK YOU--this was great. I started my first woodblock in many years and so far have done everything completely wrong. Wrong wood, wrong paper, wrong technique and a bad idea to start with a 4 color print. Off to use your tips to salvage this mess--and you made me laugh!!!
What a superb video! Thank you very much for taking the time to put this together. By far the best video I have encountered explaining this wonderful technique. I have a question about editions and APs. I am currently experimenting with reduction and all my prints I get are somewhat different from each other. I would enjoy having consistent printing, but I have found a lot of joy seeing the subtleties that come from each print. How would you define this if the prints coming from the same block are not an edition? Thanks again!
These wouldn't be part of an edition, since the prints are different, even though they are from the same block, they would be artist proofs. -Prof Lieu
What a wonderful video. I have learned a lot and it certainly helped me decide what kind of tools I need to purchase to get started. Question: is there any risk cleaning the wood block with water? Will the wood not warp?
Glad the video was helpful! I've personally had issues with thinner wood blocks warping when exposed to water, but using a damp cloth to clean thicker ones should be okay. -Lauryn, Art Prof Teaching Artist
Absolutely awesome tutorial for someone like me who is coming into this knowing nothing. Thank you! Side question: What type of pencil were you using for thumbnailing? The line quality looked really nice.
Oh one other question - do you have any guidance where I can learn about how color is applied (and maybe how that goes into the carving and design process)? The reason I ask is that I have seen Yoshida Hiroshis work and it is all color that I’ve seen but I wanted to understand the layering and colors
I love Yoshida Hiroshi's work! We don't have a video doing color with woodcut yet, but it's something we'll consider for a future video! -Lauryn, Art Prof Teaching Artist
@artprof thanks for your reply. I am aware of his copper engravings but I was talking about his actual woodcuts like "The Martyrdom of St Catherine" (other examples can be found in the Wikipedia "List of woodcuts by Albrecht Dürer")
Ah yes, carving is so much fun... then there's the dreaded inking. I either under ink or over ink an then the clean up (inking and clean up flash backs). Lol. Have not tried wood nor linoleum tho, just rubber blocks, that stamp making thing that looks like an expensive block of eraser, and my fave, flooring linoleum-like tiles that's pretty sturdy and flat.
Ooh those linoleum flooring tiles sound cool! And yes... every time I think about printmaking I also get vivid ink-stained cleanup flashbacks... - Mia, Art Prof Staff
ruclips.net/video/vVzimQJq_8E/видео.html here is an example I found on RUclips with someone using linoleum instead of wood and they didn’t run it through a press!
Would you recommend this as an Art project for 10 - 12-year-old students? Our curriculum here in the Philippines does. I'm really worried about safety. Also, tools are expensive. Could you suggest an alternative project in case it is not a good project? By the way, very informative video. Thanks. More power.
12 year olds are fine, I think 10 is a little young. 11 years old would be okay if you don't have a very large class, as it's very important that you can monitor them in terms of safety. Another option is to do this with pink erasers or rubber stamps, they are much softer, easy to cut, and are not as tough in terms of teaching safety. Here is our rubber stamp tutorial: ruclips.net/video/3Z4SM5E_hY0/видео.html -Prof Lieu
as a wood worker i cringe watching you sharp :D you did say you were bad at sharpening but there are many videos out there on how to sharp a V chisel v is basically two regular bench chisels coming together you go up and down flat the inside some round the bottom some don't but having said that I learned a lot watching your videos, you should get a strop board a piece of leather and some polish a few strokes and you are razor sharp
Watch our tutorial on Drypoint: Intaglio Printmaking: ruclips.net/video/LQtSNUPjnKc/видео.html
Thanks for leaving in the problems that may arise during the process. Printmaking is always a surprise!
hahaha it sure is!!! -Prof Lieu
This is kindof everything, leaving in the problems to model navigating them!
"i'm just mad now", is basically a stage every printmaker gets to at least once in the process of making a print. For me, it usually involves a lot more swearing, but the sentiment is the same. Wonderful, comprehensive tutorial. This will be a valuable resource for printmakers, both experienced and novice, for years and years to come.
Absolutely, no matter how long you have been doing printmaking there is always some snag somewhere... -Prof Lieu
I'm exremely appreciative that you included a failed print in your video. Too often artists on RUclips only show their successes and I think it leads newer artists to be more insecure about their own failures. Art is about experimentation and all experimentation comes with failures. Those failures can teach us if we don't take them personal.
I agree!! I feel like the times when I have learned the most is when I have messed up, so for me it's important to show the entire process, not just the parts that go well. -Prof Lieu
As a guy I am a bit wary watching art instruction videos by ladies because there is often a lot of waffle and superfluous content (sorry ladies, but it's true). What I liked about your video was that it was chock full of excellent information delivered in a confident and clear manner. I've done a few woodblock prints in my time, but your video taught me some great tips and now I'm eager to have another go. Thank you. (Aaaannndd... Subscribed! I look forward to exploring more of your videos.)
I could watch this 100 times just for the peace it brings inside.
This is another example of this channel delivering uniquely helpful content. One note, from a print collector's perspective: We don't consider AP (artist proof) to mean "there is only 1 copy of that print." This is important to know because you will often see multiple APs of the same print on the market at the same time, and you should not think one of these is fraudulent.
An artist is typically permitted to make a few APs (up to 10% of the edition size). So if the edition size is 30, the artist can make 3 APs. If it's 100, the artist can make 10 APs.
What defines the AP is that it is identical to the edition, but is not part of the edition. Other proofs-called trial proofs, state proofs, or working proofs-are pulled in the process of reaching the edition quality. We saw you making these along the way in this video. These are "variant impressions" because they vary from the edition quality. An AP is never a variant, but always identical to the edition.
Some printmakers use the term "bon à tirer" (“good to pull” in French) when they reach a proof print that is ready for editioning. This can be labeled BAT and signed by the artist. I don't see these very often on the market. As a rule of thumb, on the market APs sell for about 15-20% higher than other prints in the edition. (They may be printed before the edition, or they may be printed during or after the edition. With relief printing, which doesn't have a matrix that decays like intaglio, the artist often signs the prints in a random order, rather than in the order that they were pulled.)
It's important to know that prints were not signed and editioned in pencil regularly until the 20th century. Whistler is credited with starting the trend in signing his prints in pencil, in the late 1800s.
The two best sources are How Prints Look (Ivins) and How to Identify Prints (Gascione). But other books like Printmaking A Complete Guide (Fick, Grabowski) are also very helpful. The Ivins book is the gold standard and is online for free from the Met.
Wow, thank you so much for this incredibly detailed explanation of artist's proofs! I had no idea that this was the case with an AP, the levels of distinction and specifics of how to categorize the prints. Love hearing about the history of this, tysm for contributing to the dialogue here! -Prof Lieu
I felt so giddy WITH you as you got a great pull for the second print. I personally love that you did two different versions of the same subject and you included how you troubleshoot with digital sketches all the way down to remembering to wash your hands! All so important and it's great to see your wisdom and experience playing out in this amazing tutorial!
Awesome!!! I was so surprised that I started over I try sooooooo hard to not do that in general, but had to here! -Prof Lieu
I love your attitude! You’re a joy to watch. So much love to you and the prints turned out GORGEOUS
Tysm!! So glad I redid it!! -Prof Lieu
Wow, this artist is such a pleasure to listen to. Humble, funny and very talented. A great personnality
I love woodblock printing! Back in high school was my first attempt. We had a pile of stuff to chose from that we could carve. I picked a beat up old combat boot. I was enjoying it so much I printed it over 20 times using different colors. My older brother saw them and asked if he could have them. When he met his now wife, the first time I met her she was talking about his apartment and said "I don't know why he's got all these pictures of an old boot hanging everywhere" 😂 I need to get some wood. I'm pretty sure I still have my tools. Thanks for the inspiration!
I love so much that you shared this story, I really do believe that every artwork has a "history" that happens! -Prof Lieu
I have made some workshops. One of them 5 days, the others 2 days. I have learned more with your video. What a high level, fantastic teacher you are!!!! A thousand thanks!!!❤
What a wonderful tutorial Clara!! I was engrossed all the way through. Love the 2nd Toy Billy Goat print, so lively!
Tysm for our kind words! I seriously never thought I was going to finish... so worth it hearing your reaction! -Prof Lieu
I loved the part when you decided to start again. Excellent video, very clear and detailed, good photography and edition. Thank you, Clara!
Tysm for your kind words! Yeah, that first print was such a train wreck! -Prof Lieu
What a beautiful video. Thanks for your enthusiasm, your "lemme try stuff" attitude, your approach to "mistakes", and for all the knowledge you're donating to the universe.
And what a cool goat picture you made!
Glad you enjoyed it! - Mia, Art Prof Staff
I really appreciate you included the process of failure and how to approach it, deal with it, learn from it and overcome it. It's beyond useful, it's really amazing and inspiring. Shows your self confidence too. Every other RUclipsr only shows a polished, edited, fake story of the creative process. (Respect to the few exceptions). I see this in 99% of music production videos. The person always picks the ideal drum, bass sound, perfectly fitting instruments, effects and processing tools, and "Voila, *poof* and here's your final product - see how easy it is?" This creates an unrealistic, fake image of the creative process and it can be very discouraging for beginning artists. It's like you had a tree that only grows 1 apple a year, and it's the best apple in the world. Instead of the whole picture of a full tree bearing 1 apple, typical youtuber would show you basically just one long branch on a tree trunk with no side branches and with the apple at the end of it, if you know what I mean.:)
I agree with this so much, I really do think that those "flawless" art process videos are doing a disservice to artists, especially young artists who don't have enough experience to see the value in the inevitable mistakes we will make! -Prof Lieu
@@artprof It starts with the education system that rewards perfection, and punishes mistakes, whereas in the real world, we mostly and most efficiently learn from mistakes.. It's a systemic and societal problem and one of the few real cures I can imagine is the approach you show in this video.
Thanks for this, one of the most detailed and informative tutorials on YT!
Fabulous Tutorial! Gorgeous prints! Thank you
This was very informative. Thank you!
What an incredibly helpful and honest video. Thanks for making this and leaving the problems with the putty and the busy areas in! Feels relatable and builds trust!
Imo it's so important for people to see all the mistakes, they are inevitable!!! -Prof Lieu
The best thing about printmaking is the matrix is also beautiful and art itself! ❤️
Oh I know, the wood is so beautiful by itself! -Prof Lieu
The quintessential wood is Basswood. It doesn’t have the grain issues. But Poplar would be my second. Another tip for sealing wood grain is using cyanacrylic CA glue to lock wood fiber for those cross-cuts where tear out may occur. I don’t think CA glue will affect the ink loading for your printmaking. Sharpening is a whole art to learn but sharp tools are safer tools.
Great & helpful tips, thank you so much!! - Mia, Art Prof Staff
Thank you Prof! I’ve been slowly collecting the tools so I can start wood and Lino cut works. I’ve been painting on canvas with oils for more than a decade, but I’ve never really explored this form of expression. Mostly what I want to say here is that your video has more value to me than any other educational source I’ve found to date. You’ve covered the nuances of the process that are all I need to get started. You answered so many of my questions and given much more than I even could have asked.
Whenever I want to learn something, I need the technical information up front. I feel that gets me past the confidence hump of starting something new and enables me to dive into my work. Heading out now to get a piece of wood, I’ve already got the carving tools and a small home press and plenty of paint!
I love your attitude. You’re a beautiful lady …….and a good teacher LOL
Thank you!!! -Prof Lieu
You are such a great teacher. Easy to follow and quite genuine with the actual process that is often trial and error. Beautiful black and white woodcuts.
Tysm for your kind comments!! -Prof Lieu
thanks for showing your mistakes, very helpful
love you guys
Hahaha that's easy to do! -Prof Lieu
Such a brilliant and instructive tutorial! Thanks so much!
Glad it was helpful!!! -Prof Lieu
Thank you. This was so informative and realistic. I loved the problem solving. I learnt a lot! Beautiful work too.
Glad it was helpful!-Prof Lieu
Grateful for this video. Starting woodcutting again after 20 years!
Man, now I want to got out and get carving tools! I've always loved the look of woodcuts. Thanks for showing the whole process, including starting over. It's easy to fool myself and believe experienced artists always have smooth art making sessions.
From my experience it's anything but smooth hahaha -Prof Lieu
wow! such great tutorial! I am so inspired now to try woodcut. I think it is better that you ran into some problems as this is what is bound to happen. I love that you took the time to do a second carving. what a fantasti result!😀
GREAT intro to wood print making. Simple and clear. Makes me want to rush out and get some of those supplies!! Thank you!!!
Awesome! Thank you! -Prof Lieu
💖💗💓 This so much! Wonderful tutorial! Great detailed explanations from start to finish.
I can't thank you enough for bringing this tutorial into the world, I hope it inspires people to pick up a tool and carve! -Prof Lieu
This was so helpful- esp the analogy to scraperboard - I have done and sold lots of s/boards and linocuts but never done woodcut and now I want to try! 😊👍💐
Linoleum is a great entry point! With that experience the segue to woodcut is easier, go for it! -Prof Lieu
Your videos are very interesting and your presentation very sympathetic. Thank you for your exciting and valuable work.
Thank you so much for watching and learning with us! -Lauryn, Art Prof Teaching Artist
Thank you so much for this amazing video ❤
Thanks for watching! -Prof Lieu
This video is so well made and packed with the information I need to start and be inspired. Thank you. It is the first video in a while that ive not left in the background while I do something else. Im paying my full attention.
Wow best compliment!!! Tysm! -Prof Lieu
Your teaching style is so nice to watch and listen to. As a hobbyist I appreciate that you explain in detail. Stay awesome.
Awesome! Thank you so very much! - Mia, Art Prof Staff
I want to try this. I have an electric etching tool, but looking at this, the carving tools makes great effects! Thank you.
What a fantastic video. Really thorough, great info, well paced and entertaining throughout. You're an excellent teacher!
Glad it was helpful! - Mia, Art Prof Staff
I will try your method of inking up - thank you, you are very generous and a talented teacher
You are so welcome! -Prof Lieu
i love this video so much!!!
I learned more in this video than most other printmaking tutorials. A big thanks for highlighting and including mistakes made along the way most others do not fully express what can and often go wrong, so to see a very experienced person make those mistakes made this video sooooo refreshing to watch! By the way your prints are both wonderful and inspiring!😃
You're very welcome! Thank YOU for being here :D - Mia, Art Prof Staff
Your videos are so inspirational and full of hints and tips ... I really loved this one - thanks for the idea of painting the block with black ink first .. i battle to see things in the 'negative' and this technique really makes sense to me. I am just starting out with this technique and I am so excited to get started. You are right about linocut, that was a big problem for me when I first started doing that. I've just been taught stone lithography (oh what a fantastic process!) and now we are moving onto Japanese Woodblock printing. This video was awesome. Thank you so much.
I'm so glad to hear I can help out with the techniques, so appreciate your kind words. -Prof Lieu
Use baking parchment between the print and the baren/spoon to reduce friction.
Thanks for the tip!!! - Mia, Art Prof Staff
You're a wonderful teacher thank you -i love the drama of black and white - but also noticed one print you held up had a subtle area of color and that was very nice as well - love how you covered all aspects of this process
Tysm! Yes, sometimes it's the prints that aren't "perfect" that can be so beautiful with their textures. -Prof Lieu
Love your videos and beautiful woodcut prints. You need a strop with strop paste to hone your tools you better edge. Also you are getting tear out because you are going against the grain. Going with or across the grain will produce a smoother cut. If you hone your tools with a strop and compound you could use the mallet less unless you are using a hard wood. Keep up the great videos. Thanks!
oooo I have never heard of a strop!! Tysm for the tip! -Prof Lieu
@@artprof just a piece of leather with strop paste or compound. A few strokes on both sides and you will have a mirror finish that cuts like a razor
Great video. Thanks. I found that "painting" the tip of your tool with a marker pen before sharpening lets you see where you are removing metal. It helped a lot until I got to the point where I could consistently get it right.
That's such a cool tip-- thanks for sharing! - Mia, Art Prof Staff
This was a wonderful step by step, thank you!
Glad it was helpful! -Prof Lieu
this is so helpful!!! Thank you thank you thank you!!!
Glad it was helpful! - Mia, Art Prof Staff
Thank you so much for this wonderful gift!
Our pleasure! - Mia, Art Prof Staff
I was in a museum today and saw Yoshia Hiroshi who is renowned for his wood prints and I wanted to watch a video to really understand and appreciate the work as reading a description wasn’t enough
You really helped me gain exposure to more artists and appreciation for art in a way I don’t feel I have experienced otherwise. You not only did art history in a way but taught what and why to appreciate wood prints. I feel empowered to look at some more in the future and feel well equipped to understand everything behind what I will look at
Your video on top of Hiroshis work I think inspires me to take a class to get some hands on guidance on doing this. I love understanding a new activity from the end to end process as I believe that helps quell anxieties and fears about “I don’t know what I don’t know”
Anyways, you are such a fantastic, down to earth and lovely teacher and artist. You are so genuine and talented.
You mentioned you bought art supplies in Manhattan, if you ever offer a class or course people can sign up to I would love to
Thank you, you are so kind! I'm glad you're getting so much out of our videos! ❤️ Here's the schedule of workshops that Prof Lieu is teaching over the next couple months: artprof.org/learn/premium-courses/premium-workshops-schedule/#current -Lauryn, Art Prof Teaching Artist
This is the best tutorial i've seen in the subject! Thanks!
You're very welcome! - Mia, Art Prof Staff
amazing thank you.
I saw a Great Wave print a year ago at the Seattle Art Museum. Also other beautiful wood cut prints of Geisha women and Mount Fuji etc on loan from Japan. If you have a chance I highly recommend viewing these beautiful Art Prints.
omg I want to go!!! -Prof Lieu
Amazing video, love these tutorials
Thank you! -Prof Lieu
What a wonderful tutorial video. Honest, to the point, easy to understand and inspiring. Thank you for sharing. Cheers!
I'm so glad to hear that!! -Prof Lieu
@@artprof 🤗
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This is such a great demo - you demystified this beautiful process in such a crystal clear way. Thank you!
You are so welcome! -Prof Lieu
Oh Fabulous now I have a new medium to aspire to… lovely prints!
Wonderful! - Mia, Art Prof Staff
Nice job. ❤
Thank you for the amazing content. Your woodcut works are truly impressive.
You’re expert in so many mediums but this suits you the most ❤
She is truly a woodcut master!! - Mia, Art Prof Staff
Really satisfying watching you carve. I really wanna try this now somedayyyy
Would LOVE to see you try it!!! -Prof Lieu
Simply Awesome!
Thank you for this lesson
You are welcome! - Mia, Art Prof Staff
really good video! thank you very much for your time & effort
Great video, just got my fist beginner kit for lino cut, thanks for the tips
Have fun!!! -Prof Lieu
Hello.
What do you suggest to prepare (waterproof) the wood before starting to carve? Thank you. Isabel
Great! Thanks!
This is incredible. I can’t thank you enough. Any chance we could have a list of artists referenced in the video? I keep pausing and making notes of all the brilliant work I see flashing across the screen. Definitely a good reason to watch it several times. Thanks for doing what you do!
They should be listed in the description! Thanks for watching :) - Mia, Art Prof Staff
Thank you for sharing this!! I had such a difficult experience with my first woodblock work and i recently need to do another one which made me push that project aside. But with your video I am willing to try it again 😊
Go for it!!! So often people don't have all the info they need to make the process work well for them, and even then, there are challenges. See exhibit A here😆 -Prof Lieu
I LOVED this video!!!!!!! It was so awesome. I originally was watching it because Prof Lieu makes me laugh with her quirky humor. But I seriously want to try making a wood cut. I thi k the printing part is cool but what I really like is the way the block looks after its been used to make a print. Id prefer to display the block in a shadow box frame lol great job Prof Lieu!!🎉
Would love to see you dig in, show us what you make! -Prof Lieu
Yes!! I also end up liking the woodblock way more than the print. It ends up looking like a relief sculpture that needs it's own place on the wall.
Hey Guys! Never stop making these videos😭🤎
Don’t worry, 😆these printmaking tutorials that I edit are my absolute favorite content to produce. They just take forever to make!! -Prof Lieu
Great video❤
Thanks for the visit! - Mia, Art Prof Staff
Have you carved on medium density fiber board? I’m going to try it for a large project.
THANK YOU--this was great. I started my first woodblock in many years and so far have done everything completely wrong. Wrong wood, wrong paper, wrong technique and a bad idea to start with a 4 color print. Off to use your tips to salvage this mess--and you made me laugh!!!
Glad it helped! That's awesome!! - Mia, Art Prof Staff
This was amazing. Thank you so much!
Amazingly helpful. Thanks!
... excellent explanations.
Glad it was helpful! -Prof Lieu
What should be the minimum thickness of the block? My project are book covers.
Great video, thanks!
Glad you liked it! - Mia, Art Prof Staff
What a superb video! Thank you very much for taking the time to put this together. By far the best video I have encountered explaining this wonderful technique.
I have a question about editions and APs. I am currently experimenting with reduction and all my prints I get are somewhat different from each other. I would enjoy having consistent printing, but I have found a lot of joy seeing the subtleties that come from each print. How would you define this if the prints coming from the same block are not an edition?
Thanks again!
These wouldn't be part of an edition, since the prints are different, even though they are from the same block, they would be artist proofs. -Prof Lieu
@@artprof thank you!
Omggg yesss! Thank you !!!
Thanks for watching! -Prof Lieu
This video was so informative and concise, many many thanks!! 🫶
Glad you enjoyed it! - Mia, Art Prof Staff
if the ballans of black and witte is good then seems ter is color in it .
Hello mam can u pls explain about rhe sheets which are recommended for wood cut printing
Any printmaking papers (rice paper) would be great! - Mia, Art Prof Staff
What a wonderful video. I have learned a lot and it certainly helped me decide what kind of tools I need to purchase to get started.
Question: is there any risk cleaning the wood block with water? Will the wood not warp?
Glad the video was helpful! I've personally had issues with thinner wood blocks warping when exposed to water, but using a damp cloth to clean thicker ones should be okay. -Lauryn, Art Prof Teaching Artist
@@artprof I clicked on the link to order the recommended wood carving tools, and it is not available anymore :( I will try to find them individually.
Can you use a mallet when sharpening the gouge tool?
I’m no knife sharpening expert, so I’m not sure what you mean, sorry! -Prof Lieu
The first block was beautiful though! but so is the second
Tysm! I felt "redeemed" after the 2nd block. -Prof Lieu
Absolutely awesome tutorial for someone like me who is coming into this knowing nothing. Thank you! Side question: What type of pencil were you using for thumbnailing? The line quality looked really nice.
Honestly I think it was just some crappy average pencil! 😂 -Prof Lieu
Haha ok, thanks for the response! @@artprof
😂
Oh one other question - do you have any guidance where I can learn about how color is applied (and maybe how that goes into the carving and design process)?
The reason I ask is that I have seen Yoshida Hiroshis work and it is all color that I’ve seen but I wanted to understand the layering and colors
I love Yoshida Hiroshi's work! We don't have a video doing color with woodcut yet, but it's something we'll consider for a future video! -Lauryn, Art Prof Teaching Artist
I actually liked all the grass. I think the random marks gave definition to your image. Imao
A lot of Dürer prints I have seen almost seem inverted (i.e. very fine black lines). Do you know how that is achieved?
They are engravings done on a copper plate with a tool called a burin; it's an intaglio process which is the opposite of relief. -Prof Lieu
@artprof thanks for your reply. I am aware of his copper engravings but I was talking about his actual woodcuts like "The Martyrdom of St Catherine" (other examples can be found in the Wikipedia "List of woodcuts by Albrecht Dürer")
Ah yes, carving is so much fun... then there's the dreaded inking. I either under ink or over ink an then the clean up (inking and clean up flash backs). Lol. Have not tried wood nor linoleum tho, just rubber blocks, that stamp making thing that looks like an expensive block of eraser, and my fave, flooring linoleum-like tiles that's pretty sturdy and flat.
Ooh those linoleum flooring tiles sound cool! And yes... every time I think about printmaking I also get vivid ink-stained cleanup flashbacks... - Mia, Art Prof Staff
can we also print on clothes like on paper without losing details?
You can, but I’d probably run it through a press to get the evenness. and be aware of what type ink you are using.
ruclips.net/video/vVzimQJq_8E/видео.html
here is an example I found on RUclips with someone using linoleum instead of wood and they didn’t run it through a press!
Yes! Although I don't think you can use the Akua inks I used, as they are water soluble, probably oil based ink would work. -Prof Lieu
You can do relief print on fabric, however you need to use a textile medium for it to be permanent.
Would you recommend this as an Art project for 10 - 12-year-old students? Our curriculum here in the Philippines does. I'm really worried about safety. Also, tools are expensive. Could you suggest an alternative project in case it is not a good project? By the way, very informative video. Thanks. More power.
12 year olds are fine, I think 10 is a little young. 11 years old would be okay if you don't have a very large class, as it's very important that you can monitor them in terms of safety. Another option is to do this with pink erasers or rubber stamps, they are much softer, easy to cut, and are not as tough in terms of teaching safety. Here is our rubber stamp tutorial: ruclips.net/video/3Z4SM5E_hY0/видео.html -Prof Lieu
Interesting; I thought tear-out would occur with wood, rather than linoleum. Good to know.
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as a wood worker i cringe watching you sharp :D you did say you were bad at sharpening but there are many videos out there on how to sharp a V chisel v is basically two regular bench chisels coming together you go up and down flat the inside some round the bottom some don't but having said that I learned a lot watching your videos, you should get a strop board a piece of leather and some polish a few strokes and you are razor sharp
I'm not surprised I am aaaaaawful at this and have zero training. Tysm for the tips! -Prof Lieu
Kevlar glove
If its soft to touch then it hasn't dried yet.
if you use MDF you don't have to worry about carving against the grain
I think the hardest part for me is finding a block of poplar that isn't plywood. It's very frustrating.
Ugh, I've had this same problem, it's so hard to find! -Lauryn, Art Prof Teaching Artist